jazz posts

The music of Lisbon-born and London-based songstress Carmen Souza is hard to categorize, but easy to love. In her recent studio-album Kachupada (2013), Carmen embodies the influences of traditional Cape Verdean sounds, American jazz, Latin, Afro-Caribbean rhythms and more. Carmen’s remarkably soulful voice is the center of it all, as she easily swings through exotic beats and mellow jazz tones with a feeling of saudade. Her version of Charlie Parker’s bebop classic “Donna Lee” sounds festive, danceable and extraordinary original.

If the ’50s had sampling, New Zealand export Willy Moon would be a flashback. But at the age of 23, his brash mix of rock & roll’s early days and contemporary sampling turns the clock forward to a bold new charm. Before settling into his new home of London, UK, this autodidact ditched school at 16 and shaped his raw sounds with sojourns in Valencia, Morocco, and Berlin; evolving from hip-hop and club into sonic sledgehammers having sole-blistering effect. Willy’s supercharged collage of well-known samples, combined with his unique retro vocals, makes a fiercely catchy package, and his visual style looks equally well mastered in a slick ‘Rat Pack’ refined naughtiness.

Firey Soul, Doo-Wop, Rhythm n’ Blues are smashed together by Clairy Browne & The Bangin’ Rackettes to create a big sound with an 18-carat edge. These cats mix retro styles like a bartender with 2-day stubble in a juke joint, breaking down ’40s and ’50s Jive into a modern flare. Clairy’s voice lets through emotion in gasps and wails, supported by her gang of Rackettes spitting out background vocals you don’t wanna mess with. The band delivers smoking licks through Australian airwaves resulting in a hot plate that’ll surely blow your top.

In a vast sea of female jazz vocalists, the newcomer New York-based chanteuse Ann Sophie quickly caught our attention with her retro glamorous single “Get Over Yourself”. As the debut single sets the tone, the real treat is actually down the road – her upcoming EP. Ann Sophie possesses a truly passionate, convincing vocal style that would appeal as much to soulful jazz-pop lovers as well as retro-soul sweetness devotees.

Dedicated to presenting original raw jazz straight out of Germany’s Hannover, Hidden Jazz Quartett‘s organic sound breezes your way in crisp tumbling rhythms and versatile sax. They combine styles from both ends of the spectrum: hard-hitting drums underpin laid-back melodies in “High Heels,” with its off-kilter beat in perfect contrast to the silky colours of Omar’s voice. Instrumental jazz from the top shelf is served in “Wälzer” as a strong groove that evolves into a swirling river braved by ballsy brass solos.

First appearing on Jazz in Mexico – The Legendary 1954 Sessions, pioneering Mexican drummer and composer Tino Contreras was born in 1928 in Chihuahua, Chih., and has recorded over 40 albums to date. El Jazz Mexicano De Tino Contreras (2011) showcases his ingenuity of styles absorbed from world travels – containing ritual chants, waltz, psychedelia, and microtones to name a few. However, my aurgasm is Jazz Tropical (1962) as double bass swings through proclaiming horns, congas are aplenty, and occasional shouts propel excitement. Tino’s drum solo in “Conversacion” is a highlight, while the cascading piano from his take on Ernesto Lecuona’s “La Malagueña” and the lively swagger of “Night in Tunisia” is exquisite.

An intriguing personality shows in the words and music from Bev Lee Harling. Songs about expectations, modern life & love are matched by a diverse production which is sometimes tongue in cheek, but always spot on in presenting the song eloquently. Don’t be fooled by the sweetness of her voice; she conceals a dark twist and wickedness underneath her cute appearance. “Private Life of a Puppet” sees a fine balance between innocent & dark, while “Barefoot in Your Kitchen” has you guessing whether it is a smart analogy or just a loving tribute.